Showing posts with label collectors. Show all posts
Showing posts with label collectors. Show all posts

Friday, 28 March 2008

Washington’s Textile Museum Explores A Planet of Weavers

WASHINGTON, D.C., March 28, 2008 – Washington is a city of embassies, big and little, and at first glance the Textile Museum can easily be taken for one.

The museum is in a small neo-classical mansion from the turn of the last century and stands on a shady downtown street near the legations of Ireland and Myanmar. Just as they do, the building has a flagpole out front and the air of discreet charm that diplomats so prize.

But once inside, it is clear that if the Textile Museum is an embassy it represents the entire planet. On display any given month may be classical Persian carpet fragments, or textiles from the highlands of Bolivia, or even a collection of fabrics with nothing in common except that they were all dyed indigo blue in different parts of the world. And that is not to mention periodic exhibits ranging from Central Asian tentbands to fabrics in all shades of red.

Just how devoted to textiles is this place? Even the tiled, Georgian-era washroom on the ground floor offers a surprise. Stenciled in graceful letters around the circumference of the room are the words MORDANT, LOOM, BATIK, PILE, IKAT, and more.

The museum does have a serious side: it is an international center for scholars and collectors with an inventory of some 15,000 textiles and rugs from both the eastern and western hemispheres. It was the first textile-conservation laboratory in the United States and, since 1962 has published the now temporarily suspended research revue ‘The Textile Museum Journal.’

But the museum also very much reflects the personality of its founder and the personal joy he took in discovering, and celebrating, mankind’s fascination with weaving.

The founder is George Hewitt Myers, who was born in 1875. He came of age when the West’s fascination with oriental carpets was at its peak, with demand so great that production soared in Turkey, Iran, and the Caucasus. Like many young gentlemen at the time, he bought his first rugs when he went to university -- in his case, an 18th or 19th century Ghiordes prayer rug to help furnish his rooms at Yale. Later, he found the rug was a fraud. But instead of extinguishing his interest in carpets, the forgery only stimulated it.

Myers learned his first lesson in carpets this way: “The first sight of a (genuine) tattered old Ghiordes threw the spotlight of authenticity upon two of three of my earliest purchases,” he said. He discovered his own much more recently made prayer rug had acquired its antique look through “an effective application of pumice stone and elbow grease."


Myers was heir to a sizable share of the Bristol-Myers Pharmaceutical firm, a graduate in forestry management, and a talented businessman. But he decided to make a lifetime achievement out of collecting fabrics. After he moved to Washington, he filled his home with them and involved his guests and scholars in debates over the textiles' origins. His interests soon sent him spinning back through time in search of earlier and earlier pieces.

“When I first bought a few rugs in the 1890s, I had no thought of buying several hundred," he said. "When I first bought textiles in 1910, I had even less thought of buying several thousand. But one thing led to another and the underlying thought, if any, was to find out what went before a certain piece to make it as it was. This of course led back to earlier and earlier forms, somewhat logically.”

By 1925, the year Myers turned 50, conversations with guests were no longer enough. He opened part of his mansion as the Textile Museum. And despite his own active business life, he promoted the museum's steady growth. He spent generously, including paying $18,000 in 1928 to purchase a Lotto carpet fragment even though he already had a palace-sized Lotto in his collection. He recognized that the fragment preserved a better quality of drawing than did the full carpet.

When Myers died at age 82 in 1957, he left his Textile Museum with one fourth of his fortune and his belief that to study textiles is to learn about the world. Today, the institution is considered to be the foremost museum in the western hemisphere devoted to the preservation, study and exhibition of handmade textiles. Its popularity has grown enough that the museum plans to expand next year into an additional display space near the Washington Mall, where most of the capital’s museums are located.

But if the museum is enlarging, its spirit remains the same. That can be seen most Saturdays, when crowds gather for a weekly “Rug and Textile Appreciation Morning.”

The number of enthusiasts varies from 30 to 40 and discussion topics are as wide-ranging as South Persian bagfaces, Turkmen main carpets and camel trappings, and American quilts. In homage to Myers, the groups meet in the same walnut-paneled drawing room where he and his wife Louise once entertained their friends with discussions of the same subjects.

(Sources for this article include "One Man's Romance with Fiber Created the Textile Museum" by Martha McWilliam in 'Smithsonian Magazine,' and "Legacy of George Hewitt Myers" by Carol Bier in 'Arts of Asia.' Photos courtesy of Textile Museum.)

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A Rug & Textle Appreciation Morning at the Textile Museum


The Textile Museum: homepage

Article: Myers as a Collector

Friday, 21 March 2008

Oriental Carpet Books Sell In Strange Ways

LONDON, March 21, 2008 -- Books about rugs may seem like a no-surprise part of the Oriental Carpet trade. But when it comes to how the books are sold, the business is very much a world of its own.

There may be thousands of carpet retailers spread across the globe. Yet there is only a handful of dealers who specialize in rug books and stock enough of a variety to interest collectors.

One of those retailers is Ed Stott, who operates Oxianna Books from his home base near London. Indeed, his base is his home because, as for most of the specialist booksellers, the business does not generate enough profit to warrant shop space.

Stott says ‘the bread and butter’ of the trade are specialty books for connoisseurs.

“People who have just spent serious money for a carpet, rug, or bagface will want to buy the book if the piece is published, if only to show friends,” he says.

After all, a book full of rare rugs including something similar to one’s own goes a long way toward authenticating a piece to any doubters in the crowd. And perhaps it can even help ease relatives’ shock over a rug’s sticker price.

One of the most highly sought-after books among collectors is the catalogue for an exhibition of Turkmen weavings held at the Textile Museum in Washington, D.C in 1980. The catalogue, ‘Turkmen’ by J. Thompson and L. Mackey, has sold an estimated 5,000 copies, something Stott believes is a record for a specialist book.

Some other books -- like rare rugs themselves -- appreciate in value over time. One is ‘Rugs of the Peasants and Nomads of Anatolia’ by W. Bruggemann and H. Bohmer. It was originally published in 1983 with just 500 copies in German and 500 copies in English at the price of 60 British pounds a copy. Today, Stott says, a first-edition copy is fetching 400 pounds.

But if collectors are ready to pay high prices for specialist books, they appear to have mixed emotions about another source of information on rugs: auction catelogues.

Stott says a few auction catelogues are highly sought after because they are the stock of a single collector or dealer and may offer more information than appears in general-audience carpet books.

But most catelogues are considered to have only modest value because the pictures are post-card sized and, Stott says, the digital process can enhance the colors. After all, the intention of the catalogues is to sell carpets in auctions and advertising is advertising.

The world of carpet books is still a new one, with the earliest dating back only to around the 1900s. Stott says there were a few early German authors at that time but that it was really not until after World War II that books started to appear regularly.

At first, authors tended to be academic in their writing. But by the 1970s they also began aiming at more general readers. One of the pioneers was ‘Woven Gardens, Nomad and Village Rugs of the Fars Province of Southern Persia,’ by D. Black and J. Loveless. It caught, and expanded, the wave of interest in nomadic and village carpets at the time.

How does someone get into the business of dealing in specialist rug books?

In Stott's case, it was quite by accident. Ten years ago, his job as computer expert at British Gas was made redundant. But opportunity presented itself in the form of a friend who was going through a divorce and needed to dispose of a whole collection of books about carpets, travel, and related subjects.

Stott combined the collection with the rise of e-commerce and his mail-order Oxianna Books was born.

But it is not an easy business to be in, particularly today.

As a dealer based in Europe, Oxianna is hard-hit by the exchange rate when it does business with American customers. The weak dollar has made merchandise priced in British pounds or euros more expensive than before.

And compared to a few years ago -- when many new carpets books were published – today’s trend is toward fewer and ever pricier tomes. That is because color reproduction of photographs is very costly -- so much so that publishing a top-quality book now often requires having a carpet club or other sponsor subsidize the project.

Perhaps that is why many specialist bookstore owners engage in their business only part-time and without giving up other professions they may have. The business has to be as much for the love of carpets as for the hope of rewards.

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Oxianna Books

The Rug Book Shop

Books on Rugs and Textiles

Friday, 22 February 2008

Selling Persian Carpets On Italian TV Is A Passion

ROME, February 22, 2008 -- Germany and the United States are the countries that buy the most Persian rugs, each year taking about 50 percent of Iran’s exports.

But it is Italy, the third biggest consumer, which seems to love them the most.

It is only in Italy that Persian carpets appear night after night on their own television shows, sometimes on two channels at once.

The shows are for telemarketing but, because carpets are beautiful and because Italians are unabashedly public in their adoration of beauty, the shows have become national institutions. On the air for decades, they have their own recognizable stars whose one-man performances attract not only carpet buyers but just-lookers of all sorts.

The king of this commercial theater is Alessandro Orlando, whose full name composed of two first names is enough to be memorable by itself. He appears on the Telemarket Green Elephant satellite channel, which also sells everything from porcelain to paintings to antique furniture. Alessandro sells those, too, but he reserves his most passionate performances for carpets in general and Persian carpets in particular.

As the show begins, he is sitting or standing alone in a cocoon of carpets. They are hung on the walls beside and behind him. They cover the floor beneath him. He is pensive.

“Over the past 100 years, there have been only five names of master Persian carpet makers known the world over,” he begins. “Mohtashem, Hadji Jalili, Habibian …”

“The most famous of them is Usted Fatollah Habibian. So famous that three years ago Iran, recognizing his work as part of its national patrimony, forbid removing any remaining Habibians from the country.”

Now, Alessandro looks directly at the camera and the pace quickens.

“But tonight, we have something extraordinary. No museum, no gallery in Europe has ever assembled the kind of collection of Habibians we have here, on these walls. There are only two Habibians in London’s V&A, a couple in Tehran’s carpet museum …”

Then, just when the camera pulls back and begins showing the carpets on display, Alessandro does what makes his show – and Italian telemarketing – so sui generis. He doesn’t begin selling, but pauses instead to launch into a full 15-minute homage to Habibian, his career, and his art.

That includes: Habibian’s birth around 1900, his early years aspiring to be a musician in Nain, the city’s rich tradition of weaving that shifted his attention to design, and finally his discovery of a new way of wrapping six strands of silk into a single fiber which, Alessandro says triumphantly, makes his carpets “as absolutely indestructible as they are beautiful.”

There are photos of Habibian on screen, sitting in a room of carpets. Alessandro has become his voice. “A true master can only produce 500 carpets in his lifetime because he is a perfectionist," he says. "We live in a world of false artists, false because they imitate the masters. They are good but they are ‘copyists’ … you will never find two Habibians that are the same, any more than two Picassos.”

When the selling finally does begin, the mood becomes much more businesslike. But Alessandro has set the stage so well that the prices of the goods on sale raise doubts only among collectors. For the rest, the tag of just 5,250 Euros for a six-square-meter designer carpet is a dream come true.

Alessandro's superlatives ring out and, in the background, so do the phones.

“A white diamond to put in your salon!”

“An enchanted garden!”

“A palace constructed from a carpet!”

“Mama … a Habibian!”

By the time it is over – a full hour later – Alessandro has sold enough to put noticeable gaps in the wall of carpets behind him. Muscular arms that briefly appear on camera pull the sold pieces down and take them away.

Alessandro himself is exhausted. He has walked the equivalent of several kilometers within his small studio, knelt on carpets, draped ones he likes over one knee, draped ones he likes even more over one shoulder, and generally proven that the church of art in Italy is every bit as impassioned as evangelist churches in America.

What does Alessandro look like? He is simply the man you would find standing beside you at the counter of an espresso bar, with a rumpled suit and no briefcase. His most prominent features are his black hair, which contrasts vividly with his graying temples, and his black eyebrows which rapidly change expression. He is Everyman.

There are lesser stars of Italian telemarketing, which runs 24 hours a day. But no others rise above their on-screen roles. There is a more intellectual type who whispers footnotes of art history, there is a more physical type who comes on strong like a boxer, and there is a hypnotic type who intones over and over: “with this investment you will never lose.”

There is even a man who dresses in a brocaded jacket like a yacht captain, but he sells antique dressers and commodes, not textiles.

The telemarket programs have been on the air so long that thousands of people have circulated through them as off-screen prompters whispering carpet dimensions and prices to the showmen or as delivery boys taking the goods to customers.

Hadi Dadashian, an Iranian-American who lives in San Francisco, worked with a telemarketer while he was a student in Rome decades ago. He still remembers a delivery to Gina Lollobrigida.

“When we got to her apartment it was very late at night,” he says. “She was all alone and she opened the door herself.”

He recalls that the actress lived in a fabulous setting but looked sad and was watching all-night TV. She gazed for a long time at the carpet she had ordered and several times ran a red toe nailed foot over it to check its softness. Then she accepted it, like a bouquet of flowers she had bought to cheer herself up.

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Related Links

Alessandro Orlando

Alessandro Orlando: “Meravigliosa!”
http://www.youtube.com/watch?v=hEfU1I3gKBQ&feature=related

Alessandro Orlando: Too Busy To Speak
http://www.youtube.com/watch?v=95PQ3NBGuPU&feature=related

Fatollah Habibian

Barry O’Connell: Habibian Nain Rugs
http://www.spongobongo.com/em/em9653.htm

Thursday, 14 February 2008

Birds and Qintamani

(Fiction - By Karel Capek, 1929)

Now, you know, once a fellow gets it into his head that he wants something, he can’t get it out again. And when he’s a collector, he won’t even stop short of murder if necessary. That’s what makes collecting a truly epic pursuit.

Ehem, said Doctor Vitasek. I know a thing or two about Persian carpets, Mrs. Taussig, and I can tell you, they’re not what they used to be. Today those idlers in the orient aren’t going to put themselves to the trouble of dying wool with insect reds, with blues from indigo plants, or with extracting yellow from saffron, much less to working with camel urine and wood extracts to get any of the other noble organic colors. Not even the wool is what it used to be. And, if I start talking about patterns and motifs, well, that’s enough to make anyone weep. It’s all lost, all that art of the Persian carpet. It is only the old pieces, the ones made before the 1870s, that have any value now, and you can only manage to buy one of them when some old family which has been passing one down, generation by generation, lets it go for what they call “family reasons,” as they like to term their debts. Listen, once I was visiting Rozemberg castle and there I saw a genuine Transylvanian – one of those little prayer carpets the Turks were weaving in the 17th century when they were conquering everything. All over the castle there were tourists stamping around in hobnail boots -- all around that carpet! – and not one of them had the slightest idea of how valuable it was – now, isn’t that enough to make you cry? But do you know the strangest thing of all? One of the world’s most priceless rugs happens to be right here in Prague, and nobody even knows it exists!

It’s true. I know all the carpet merchants in our country, and sometimes I go around to see what they have in stock. You know, sometimes the agents in Anatolia and Persia get hold of an antique piece that’s been stolen from a mosque or somewhere, and they wrap it up inside some cheap material priced by the meter and then they sell the whole bundle, no matter what’s inside, by weight alone to slip it past customs. And I start thinking to myself, what if they’ve wrapped up a Bergama! That’s why, sometimes, I just drop in on carpet seller here or there, sit down on a mountain of carpets, have a smoke, and just watch how he sells his rugs – just like he's selling sacks of coffee – all the Bucharas, Sarouks, Tabrizes. And now and then I’ll just look down and say, so what have you got down here, this gold one? And, what do you know, it’s a Hamadan! And that was how I once dropped in on a certain Madame Severynova, who keeps a little courtyard shop in Old Town and who sometimes has some fine Karamans and kilims. She’s a round, jolly lady, very talkative, and she has a poodle so fat it makes you ill. You know, one of those pudgy mutts which are so testy and asthmatic and bark so crossly – I can’t say I like them much. Listen, have you ever in your life seen a young poodle? I haven’t and I’d even argue that every poodle, like every police inspector, accountant, and tax collector, is born old, it’s like they don’t even belong to the dog species! Still, I wanted to keep good relations with Mrs. Severynova, so I always sat in the same corner where Amina the fat poodle was wheezing and snoring on a big, folded-up carpet and I would scratch her back – that, at least, was something Amina liked. And one time I said, Mrs. Severynova, these must be bad goods that I’m sitting on, they haven’t sold for three years. And she said, that’s nothing. That carpet over there has been lying in the corner a good ten years, and it’s not even my carpet. Oh, I said, you mean it’s Amina’s now? And she smiled and said, not at all, it belongs to a certain lady who has no room for it in her home and so she keeps it here. It’s in my way but at least it’s something Amina can sleep on. Isn’t that right Amina, dear?

It was at that moment that I reached out my hand and lifted up the edge of what Amina was lying on, even though she immediately started snarling. So what kind of old carpet is it, I asked, can’t I have a look? Why not, Madame Severynova said, and she grabbed up Amina in her arms. Come on, Amina, sweetie, he’s only looking. But Amina growled again. Stop it Amina, she ordered. Quiet down, you silly thing.

All that time, I was staring at the carpet and my heart almost stopped beating. It was a white Anatolian, from around the 17th century, and worn through in places. But it was one of those antique bird carpets, one of those white Anatolians that are decorated either with a field of birds or with a field of Qintamani , but never both together. That's the rule, to keep separate the sacred from the profane -- because they say the Qintamani, that triangle of three dots floating on two wavy lines, is a religious symbol that goes right back to the Buddhist times of Central Asia. But on this carpet, I know it sounds impossible, there were BOTH birds and Qintamani at the same time! The whole thing gave off a feeling of something powerful, of a miracle or, at the very least, of something utterly forbidden ... whatever it was, I can tell you, this piece was an extraordinary rarity! And it was at least five by six meters in size, a beautiful white shade, with turquoise blue, cherry red ... I went to stand by the window so Madame Severynova would not see the expression on my face. And then I said, as casually as I could: what an old rag, Madame Severynova, it must really be in your way. You know, I could take it off your hands, since you don’t really have space for it here.

That’s going to be difficult, Madame Severynova replied. This carpet is not for sale, and the lady who owns it is always traveling, she’s in Meran or Nice, and I don’t even know when she is home. But I'll try to ask her. Oh, would you be so kind, I said as disinterestedly as I could, and I went home. Just so you know, it’s a point of honor for a collector to get something rare and valuable for just a song. I know one very esteemed and wealthy man who collects books, for example. He can pay several thousand dollars for a collectible without the slightest show of emotion. But whenever he is able to wrangle a first edition copy of the works of the poet Joseph Krasoslav Chmelensky from some rag picker for a just a few cents, he jumps for joy. That’s the kind of sport it is -- like hunting that most elusive of deer, the alpine chamois. And all that is how I got it into my head that I had to have that carpet very cheaply and that afterward I would bequeath it to a museum, because something so rare really doesn’t belong to anyone. Only I did want one thing out of it: a little memorial plaque with the inscription ‘the gift of Doctor Vitasek.' After all, doesn’t everyone have some ambition?

But I’ll admit, my head was spinning. It took all my efforts to keep myself in check and not run back to that shop the very next day to ask again about the Qintamani with birds. I couldn’t think of anything else. But every day I told myself, just hang on for one more day. I was putting myself through hell, but sometimes people love to torture themselves. And then suddenly – even worse – after about two weeks a horrible thought hit me, what if someone else discovered that bird carpet? And then I flew over to Madame Severynova. I literally burst through her door.

What on earth’s going on? the surprised lady asked me. But I replied, as casually as I could, that I just happened to be in the area and remembered about that old white carpet. Would the owner sell it? Madame Severynova shook her head. What do I know, she said, she’s is in Biarritz now and no-one knows when she will return. Meanwhile, I was trying to steal a look, is the carpet still there, and sure enough it was, with Amina lying on it, fatter and more scabious than ever, waiting for me to come scratch her back.

Sometime later, I had to make a trip to London, and as soon as I arrived I dropped in on Mr. Keith, you know, the Sir Douglas Keith who is today one of the greatest experts on oriental carpets. My good sir, I said to him, what value would you assign a white Anatolian with a Qintamani and bird design, with a size that exceeds a full five by six meters square? And Sir Douglas just stared at me though his thick glasses and then, almost in a fit of anger, blurted out, "Why nothing, my man!" "What do you mean? I asked dumbfounded. Why on earth would it be worth nothing?" And Sir Douglas was almost shrieking now: "Because the carpet you describe cannot possibly exist in that size! Dear fellow, you must know that the largest Qintamani and bird carpet that I have ever seen barely measures three by five meters!" I admit, I had to blush with joy. And now it was my turn: My dear man," I said, "let’s just imagine such a piece of that size did exist, what would be its price?" "But, I’ve already told you, nothing," Mr. Keith cried out again, "because that piece you describe would be absolutely unique and how can you put a value on something that’s unique? It could as well be worth 1,000 pounds as 10,000, how would one know? In any case, such a carpet does not exist, Good day, Sir!"

You can imagine in what a mood I returned home. Good God, I had to have this rug with the Qintamani now! What a catch it would be for any museum! And now, just imagine my situation. I couldn’t just go and beg for it, because that would not be sporting for a collector. And Madame Severynova had no particular interest in selling this old rag when it was so dear to her Amina. And that cursed woman who owned the carpet was always in motion, from one health spa to another, from Meran to Ostend, from Baden to Vichy – that woman must have had a whole medical catalogue of symptoms at home to inspire her and keep her in perpetual movement.

By this time, I was going about once every fortnight to Madame Severynova’s shop just to peek in and make sure that carpet with all its birds was still in its corner, as well as to rub down that odious Amina until she whimpered with joy. And just so that all this didn’t become too noticeable, each time I went I also purchased a little carpet. Certainly, I already had at home more than enough Shirazes, Shirvans, Mosuls, Kabristans, and all kinds of other by-the-meter stuff – and I even had a classic Derbent that you wouldn’t exactly find every day plus one beautiful antique blue Khorosan. But what I experienced for two years trying to get this Qintamani, well only a collector would understand. You know, the agony of love is nothing compared to the agony of collecting, and the only thing that is really strange is that, as far as I know, no collector yet has taken his own life. Instead, most live to ripe old ages. So, at least it must be a healthy passion.

One day Madame Severynova suddenly said to me: you know, Mrs. Zanelli, who owns that carpet, she was here. And I told her I might have a buyer for her white elephant that’s been cluttering things up so long. And she said, she wouldn’t think of it, it’s a family heirloom, and I should just leave it right where it is.

That is when I decided to run over to see that Mrs. Zanelli myself. But if I thought she was going to be a lady of the haut monde, well, in fact she was one of those nasty grannies with a purple nose, a wig, and some kind of strange tick, so that her mouth was constantly twitching up her left cheek all the way up to her ear. Your Grace, I said -- and all the time I couldn’t stop looking at how her mouth was dancing up her cheek -- I would be prepared to purchase that white carpet of yours; even though it is a poor specimen, it would go nicely in my ... my foyer, you know. And as I paused for her reply, I had the strange sensation that my own mouth was beginning to jerk and jump up on the left side. Whether her tick was infectious, or whether it was from excitement, I don’t know, but I couldn’t stop mine either.

How dare you! That dreadful woman squealed. Go! Go this instant! That carpet is a family heirloom ... from Grand Papa. If you don’t leave, I’ll call the police. I don’t sell carpets, here. I am a Zanelli! Hail Mary, let this man be gone! Listen, I ran down the stairwell from her apartment like a little boy, my eyes burning with sorrow and rage, what else could I do? For another whole year, I went by Madame Severynova’s and during that time Amina learned to grunt, she was already as fat as a sow and almost completely bald. Then, finally, after a year had passed, Mrs. Zanelli returned to town once more. This time I surrendered and did something of which, as a collector, I shall be ashamed of to the day I die. I sent my friend to see her, the lawyer Mr. Bimbal – he’s one of those kindly, whiskered fellows who inspires unbounded confidence among the ladies. My thought was that this sensitive soul could persuade Madame to part with her bird carpet for some reasonable amount of money. In the meantime, I waited downstairs, as excited as a fiancé waiting for an answer from his beloved. Three hours later, out came Bimbal, wiping the perspiration off his cheeks. You scoundrel, he hissed at me, I’ll throttle you! How did I ever agree to suffer three hours of listening to the entire family history of the Zanellis? And just so you know, he shouted, you’re never going to get that carpet! Seventeen Zanellis, all buried in Olsansky cemetery, would spin in their graves if their family relic went to a museum. Jesus and Mary, you owe me! And with that he left me.

Now you know once a fellow gets it into his head that he wants something, he can’t get it out again. And when he’s a collector, he won’t even stop short of murder if necessary. That’s what makes collecting a truly epic pursuit. And that is how I decided that I would simply have to steal that carpet with the Qintamani and birds. First, I staked out the surroundings, and I learned that the entranceway to the courtyard that housed Madame Severynova’s shop did not get locked up at until nine at night. And that was good, because I didn’t want to use a crowbar when I didn’t even know how to. From the entranceway, you could slip into a cellar where a fellow could hide until they closed up the whole place. Inside the courtyard, there was also a little overhang, and if you could get up onto the roof of that you could climb over to the neighboring courtyard, which belonged to a pub, and from there you could easily make your getaway to the street again unnoticed. It all looked quite easy, the only problem was how to actually break into the shop. For this, I bought a diamond, and at home I started practicing how to carve through glass windows.

Now please, don’t think that stealing is some simpleton’s business. I can tell you firsthand that it’s harder than operating on someone’s prostate or pulling out his kidney. The first thing is that nobody must see what you are doing. And the second thing, which is tied to that, is that there is plenty of waiting and other inconvenience. And the third thing is lots of uncertainty, you never know what might happen. I can tell you, this is a tough and underpaid profession. If I ever catch a burglar in my own apartment, I will take him by the hand and tell him gently, my man, why are you going to all this trouble? There are plenty of other, much easier ways to part people from their money.

I really don’t know how other people steal, but my own experiences aren’t very favorable. On the critical evening, as they say, I slipped into the courtyard in question and hid myself midway down the stairs leading to the cellar. At least that’s how you might describe it in a police report; in reality, it looked more like this: for a half-an-hour I loafed about in the rain near the entranceway, probably very conspicuously. Finally, I decided in desperation, a bit like someone decides to go and have a tooth pulled, to come out of my hiding place and then, straightaway, I nearly ran into a servant girl who was going out to the pub next door to fetch some beer. To calm her down, I muttered something endearing, like ‘you little rosebud,’ or ‘nice kitten,’ or something like that, and this had the unfortunate effect of startling her so badly that she took to her heels. I ran back down into the stairwell to hide, but those slovenly people in the building had put a trashcan full of ashes or some other rubbish where it was right in the way; so that the main event of my stakeout was the huge racket the trashcan made as it crashed over. At that moment, the servant girl returned with her order of beer and began shouting almost hysterically to the doorkeeper that some stranger had crept into the building. Fortunately, this stalwart fellow didn’t let himself be disturbed and announced loudly that it must be some drunk who had gotten lost going out of the pub. A quarter-of-an hour after that, spitting and yawning, the fellow locked up the courtyard door and all was quiet except for, somewhere up above, loud and lonely, the servant girl hiccupping. It’s strange how loudly some of these girls can hiccup; maybe it’s out of homesickness, who knows? I was starting to get cold and, besides that, the stairwell smelled sour and moldy; I groped around and found everything I touched was slimy. Then, oh my God!, I realized that our respected Dr. Vitasek, the specialist in diseases of the kidney and urinary tract, had just put his esteemed fingerprints all over the place. By the time I thought it must surely be midnight, it still was just barely 10 o’clock. I had firmly resolved that I wouldn’t begin my cat-burglary until midnight but by 11 o’clock I couldn’t hold out any longer and I set off to steal. You wouldn’t believe how much noise a man can make when he starts creeping around in the dark but, somehow, the whole house remained blessedly asleep. Finally, I got to the window I was aiming for and with a horribly loud scraping sound I began to cut the glass.

Suddenly, there was an explosion of barking. Jesus and Mary, Amina was in there!

Amina, I whispered, you monster, keep quiet, I’m only coming to scratch your back. But you can’t conceive how hard it is, in pitch blackness, to manipulate a tiny diamond so that it cuts twice in the same groove. Instead, mine was slipping all over the pane and it seemed to be making no progress until, all at once, I pressed a little harder and the whole glass shattered. Now everybody’s going to come running, I thought, and I looked around desperately for somewhere to hide. But, amazingly, nothing happened. Then I began to grow a lot calmer, to the point finally that I simply smashed in the next glass pane and opened the window. Inside, Amina was still letting out a half-hearted bark every now and then, but it was clear that she was only pretending to fulfill her duty. I crawled through the window and rushed over to that abominable creature. Amina, I half cooed, half hissed, where’s that damn back of yours? My love, it’s your dear friend! You monster, you like this, don’t you?

Amina squirmed with delight, that is if an overstuffed sack can be said to squirm. So, I whispered to her in a very friendly way, alright, you wretch give to me. And I tried to pull that priceless carpet out from under her. But now Amina must have suddenly understood I was talking about HER property. She started growling; it wasn’t barking it was really growling. Jesus and Mary, Amina, I said to her quickly, be quiet you beast. Just wait a second, I’ll make you a bed of something much better. And rip! I pulled down a dreadful, shiny Kirman which Madame Severynova kept hanging on the wall and which she considered the rarest piece in her shop. Look, Amina, I whispered, now here’s something to really sleep on. Amina looked at me with interest but just as soon as I stretched out my hand for her carpet there was another growl so loud it could be heard clear across town. There was nothing to do but start scratching that monster again, this time with a special, luxurious rubdown that put her into ecstasy. Then I grabbed her up in my arms. But as soon as I reached for that white, one-of-a-kind Qintamini and Birds, she gave off an asthmatic wheeze and then, I swear, began cursing me. By God, you monster, I said, almost beside myself, I’m going to have to murder you!

Now listen, I don’t understand this myself. I looked down at that vile, fat, repulsive thing with the wildest hatred I have ever felt, but I couldn’t bring myself to act. I had a good knife, I had a belt around my waist, I could have cut that monster’s throat or I could have strangled it, but ... instead I just sat down next to her on that divine carpet and scratched behind her ears. You coward, I muttered to myself, with just one motion, maybe two, she would be out of the way; you’ve operated on so many people and seen so many of them off, in agony and in pain, why can’t you dispatch a poor, simple dog? I gnashed my teeth, trying to work myself up to it but in the end I just broke down in tears, maybe out of shame. And Amina just whimpered happily and licked my face.

You miserable, swinish, good for nothing carcass! I patted her mangy back and then I crawled back out the window. You could call it a strategic retreat, or a complete rout. My escape plan had been to hop up on the roof of the shed and use that to get over to the adjoining yard and then out through the pub, but I didn’t have an ounce of strength left, or maybe the roof was just higher than I’d originally thought. So, I slipped back down that stairwell leading to the cellar and stayed there till dawn, half-dead with exhaustion. What I fool I am! I could have slept comfortably in the shop on top of all those carpets, but it didn’t occur to me. At daybreak I heard the portiere opening up the gate. I waited a moment and then I headed out. The doorkeeper was still there, lingering in the entryway, and when he saw a stranger slipping out past him he was so surprised he forgot even to make a fuss.

A couple of days later I visited Madame Severynova. Bars had been put on the windows of her shop but otherwise everything was as before. That dreadful toad of a dog was wallowing all over the holy Qintamini and when she spotted me she started wagging that fat sausage that is politely called her tail. My dear Sir, Madame Severynova beamed at me, just look at our priceless Amina, she’s worth every bit of her weight in gold. A treasure! Do you know that the other night some thief crept through the window and Amina chased him off? I wouldn’t give her up for anything in the world. But she likes you, doesn’t she, Sir? You know an honest gentleman when you see one, don’t you Amina?

And that is all there is to it. That one-of-a-kind carpet is still lying there today. It is, I’m certain, one of the rarest carpets in the world. And right to this day, that hideous, mangy, stinking Amina is on it, grunting with bliss. I’m sure one day she will finally suffocate under the weight of all her fat and then I'll try again. But first I’ll have to learn to file through iron bars.

(Karel Capek, the well-known Czech journalist and novelist, published ‘Birds and Qintamani’ in his collection of short stories “Tales From Two Pockets” in 1929.)

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As Costs Rise, Iran's Carpet Producers Look Abroad

HANNOVER, Germany; January 22, 2008 --

Rising production costs are causing some Iranian producers to move operations to India and Pakistan, where labor is less expensive.

Particularly feeling the squeeze are companies which try to weave the highly ornate styles that traditonally have made Persian carpets so famous.

Those styles include Hadji Jalili -- a highly complex design originally produced in Iran from 1880 to 1925 by a renowned Tabriz workshop of the same name.

Today, producers say, recreating that level of detail using highly skilled weavers in Iran is prohibitively costly. A Hadji Jalili is woven with dozens of colors, making its production an extremely time-consuming and painstaking process.

One company that set out to recreate the Hadji Jalili carpets in sizes suitable for mansion rooms -- where they traditionally go -- soon found itself looking to the subcontinent instead.



"If we wanted to produce this quality in Iran, it would cost four to five times as much," says Kambiz Jalili, an owner of the U.S.-based firm Hadji Jalili Revivals who attended this month's Domotex carpet fair in Hannover, Germany.

He adds, "The majority of weavers even in an area of India accustomed to making very fine and very intricae designs refused to weave these because in every rug we have anywhere from 16 to 30 colors and there may be eight colors which are so similar that it is extremely difficult for the weaver to distinguish between the yarn colors and it is very easy to make mistakes."

The complexity of the rugs puts them at the high end of carpet prices -- about $ 1,750 per square meter retail. By the time they are woven large enough to fit a palace ballroom, the retail price becomes about all the market will bear.

Asked if his customers truly are palace owners, Jalali says "they better be, to be able to afford them!"

Producing a quintessentially Persian carpet outside of Iran may seem like an extraordinary example of global outsourcing.

But as Iran's economy grows with high oil prices -- which today are around $ 100 a barrel -- Iranian producers say they increasingly find themselves struggling at home.

Sadegh Miri is one of the owners of Tehran-based Miri Iranian Knots. He says that over the past 10 years, the cost for weavers in Iran has gone up "300 to 400 percent."

Miri has remained successful by focusing on antique collectors. That is another wealthy clientele which will buy new rugs of classical quality if antique ones cannot be found in the dimensions and colors they seek.

It is high-end business like Hadji Jalili Revivals but, due to the labor costs, one restricted to much smaller carpet sizes. Miri's retail prices, which reflect the differences in the Iranian and Indian production markets, range from $ 2,500 to $ 7,500 dollars per square meter.

Does the multi-generational company fear that one day it will have to relocate?

Miri brushes off the suggestion with a laugh. "If that day comes, I will stop working," he says. "I will stay in Iran and continue until the market decides."

But Miri does predict that much of Iran's lower-end carpet production will eventually follow the global migration to lower-cost lands.

"In the future, only the high-end carpets will survive and the commercial end will go to India and China because we can't compete with them regarding the prices," he says. "Even now, many Iranian producers have gone and they are in India or Pakistan and they are producing there."

Not just labor costs are rising, so are the costs of materials.





Hossein Attaran of Tehran-based Carpet Heritage says that particularly affects producers who use natural dyes and handspun wool. Those are the materials an increasing number of carpet makers bank upon to revive flagging customer interest in their industry.

Attaran says decades of mass carpet production using synthetic dyes and machine-spun wool have flooded the market with low-quality pieces from every carpet-weaving country. That has left buyers jaded and looking for less artificial products.

But as interest in organic carpets -- those colored with plant-based dyes -- grows, so do the prices of the materials themselves. Madder root, a source for red dyes, has shot up from 70 cents a kilo a few years ago to $ 4 a kilo today. Handspun wool today costs $ 10 dollars a kilo, or five times more than machine-spun wool.

That creates pressure to convince the public the difference is worth it. And in Iran it only adds to the difficulties of persuading buyers to buy expensive Persian carpets from their homeland rather than lower-priced look-alikes from elsewhere.

Carpet Heritage this year presented a new line to emphasize the long history of art and culture unique to Persian carpets. Its limited edition of "Persian Poem Carpets" has a quatrain from Omar Khayyam subtly and elegantly woven into the border of each piece.

"Bringing the two forms, poetry and carpets, together shows a very traditional way of Persian thinking about how we should appreciate life," Attaran says.

Iran’s hand-woven carpets are one of its biggest export commodites after oil. The country exported some $400 million of hand-woven carpets in 2006, the latest figures available, with the United States and Germany as the biggest destinations. The carpet industry directly or indirectly employs some 1.4 million people.

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Related Links:

News:

Reuters: Iran carpet traders hope quality will trump rivals
http://www.reuters.com/article/worldNews/idUSDAH24617320070917

Reuters: Five facts about Persian carpets
http://www.reuters.com/article/worldNews/idUSDAH24627320070917

RugArt: Annual Rug Production At 6m Square Meters
http://www.rugart.org/news/shownews.asp?id=3418&temp=english

Zawya: Persian Rugs Still On Top
http://www.zawya.com/Story.cfm/sidZAWYA20071227042009/SecMain/pagHomepage/chnIran%20News/obj4D013B07-9736-4570-BBD1F1C13DD6B6E1/


Haji Jalilis:

Barry O’Connell: PersianCarpetGuide: Guide to Haji Jalili Tabriz Rugs and Carpets
http://www.persiancarpetguide.com/sw-asia/Rugs/Persian/Tabriz/Hajji_Jalili_Tabriz_Rugs.htm

Omar Khayyam:

Wikipedia: Omar Khayyam
http://en.wikipedia.org/wiki/Omar_Khayyám


Contacts:

Hadji Jalili Revivals
http://www.hjrrugs.com/

Miri Iranian Knots
http://www.mirssg.com/english/head.htm

Carpet Heritage Company
http://www.carpetheritage.net/index.php?page=welcome.php

Advice:

How to Buy an Oriental Rug and not Get Taken on a Carpet Ride
http://money.cnn.com/magazines/moneymag/moneymag_archive/1997/05/01/225684/index.htm